Netflix Originals Delivery Specifications OC-4-0 PDF

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Netflix Originals Delivery Specifications OC-4-0
Netflix Originals Delivery Specifications OC-4-0
Netflix Originals Delivery Specifications OC-4-0
Netflix Originals Delivery Specifications OC-4-0...

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Netflix Originals Delivery Specifications   

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Table of Contents 1 Objective 2 Source Material Requirements 3 Primary Digital Asset Specifications 3.1 IMF Packaging 3.2 Video 3.3 Audio 4 Audio Specifications 4.1 Audio Prerequisites 4.2 Audio Mix Requirements 5 Secondary Asset Specifications 5.1 Subtitle as a Separate File 5.2 Accessibility Files (SDH) 5.3 Alternate Language and Audio Description as a Separate File 6 Movie Content Metadata 7 Delivery Platforms 7.1 Backlot Delivery UI 7.2 Backlot Requests & Delivery Management API 8 Textless Version IMF Package 9 Non-Graded Archival Master (NAM) 10 VFX Archival Asset Specifications 10.1 VFX Pre-Production Assets 10.2 VFX Production Assets 10.3 VFX Post Production Assets 10.4 VFX Wrap Assets 10.5 VFX Document Specifications 10.6 VFX Appendix 11 Promotional Assets and Source Materials 11.1 Key Art – Vertical, Horizontal 11.2 Title Treatment and Title Card 11.3 Stills or Layered Stills 11.4 Character Poses 11.5 Unit Photography 11.6 Gallery/Cast Photography 11.7 Backgrounds & Environmentals 11.8 AV Trailers & Promos 11.9 EPK Source Materials 11.10 Custom Animation or Video + Voiceover 12 Appendix 12.1 Language Codes 12.2 Change Log History

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1 Objective The Netflix  streaming service offers an outstanding, high-quality viewing experience that preserves original artistic intent. This level of quality requires Netflix to work with source files that match the original frame rate and aspect ratio as it was originally shot. If Partner does not have the source Netflix requests, Netflix will work closely with Partner to see if there are acceptable alternatives. Netflix may be referred to as “Netflix” or “our” and Partner may be referred to as “you” and “your” in this schedule.  For each Title, all Source Material elements set forth in this schedule shall work in conjunction (conform) with one another as a properly functioning single asset. Source Material must be compliant with the specifications below detailed in this document.  This document lists specifications for deliverables to Netflix. However, some of them may not apply to your production. Please refer to your Netflix Delivery Requirements List or your Netflix Representative to verify which sections apply to your delivery. 

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2 General Asset Requirements  There are no exceptions to the following requirements, unless previously approved by your Netflix Representative. ● Source material must be uncensored. ● Translations within secondary audio and timed text assets should not introduce slurs that were not present in the original language or unnecessarily harshen/soften the language used, unless specifically requested by Netflix. ● PSE (Photo-Sensitive Epilepsy) Compliance testing (e.g. Harding, Tektronix, or any other algorithm that complies with ITU-R BT.1702-1 guidelines) must be performed for all animated content. ● Content must be delivered as long-play and cannot be split into multiple deliveries, e.g., if the content is 90 minutes in duration, a single asset with a 90-minute duration must be delivered. Two (2) deliverables with 45-minute durations will not be accepted. ● Netflix requires video to be delivered in their native frame rates. Netflix defines this to mean what the material was originally shot in or edited with regards to frame rate. If it was originally a film, Netflix requires the native film frame rate (23.976p, 24p or 25p). This is often different from the frame rate that is used for tape, archival storage, and delivery to broadcasters (typically 29.97i df, or 25i). No 3:2 Pulldown flags allowed. ● Netflix requires video to be delivered in the original  aspect ratio (e.g. Netflix will not accept a 4x3 version when a 16x9 version was originally created). 

3 Primary Digital Asset Specifications 

3.1 IMF Packaging  All deliveries to Netflix must be compliant to either SMPTE ST 2067-21:2016 or SMPTE ST 2067-21:2020 Interoperable Master Format (IMF) Application #2E. Packages containing immersive sound must additionally comply with SMPTE ST 2067-201:2019 Immersive Audio Bitstream (IAB) Level 0 Plug-in.  IMF packages must be created from the Video Display Master (VDM), or directly out of a capable color grading tool, and must be delivered in the highest quality and resolution including High Definition (HD) and Ultra High Definition (UHD). Netflix may explicitly request other resolutions.  The final IMF package must contain the following: ● 1 Asset Map XML file ● 1 Packing List XML file ● 1 or more Composition Playlist (CPL) XML file(s), representing a single audio language each, containing o For titles mixed in Dolby Atmos® ▪ 1 image virtual track ▪ 1 IAB virtual track ▪ 0 or 1 surround audio virtual track (6 channels) ▪ 0 or 1 stereo audio virtual track (2 channels) o For titles mixed in 5.1 surround ▪ 1 image virtual track ▪ 1 surround audio virtual track (6 channels) ▪ 0 or 1 stereo audio virtual track (2 channels) ● All MXF Track Files referenced from the ingested CPL, that have not previously been delivered ● Volume Index and Output Profile List XML files may be present, but are not required  November, 2020

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For Dolby Atmos® titles delivered in IMF, 5.1 and 2.0 are optional tracks to be delivered within the IMF. 5.1 audio is required as a separate Content Hub delivery for dubbing reference only. Deliveries containing only image and IAB tracks, i.e. no stereo/surround audio track(s), must be compliant to SMPTE ST 2067-21:2020 (since the absence of channel based audio tracks is not supported by the 2016 edition of the standard).  Special consideration must be taken for 29.97 or 59.94 IMF deliverables. The total number of frames contained within a 29.97 or 59.94 IMF CPL Segment must be divisible by 5 to preserve integer value audio samples. If necessary, trim the picture and audio by the required number of frames (1, 2, 3, or 4) before wrapping IMF to ensure total frames per Segment are divisible by 5.  Note: Track files containing timed text essence are not currently supported. 

3.2 Video

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3.2.1 General ● ● ●

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 Video must consist of the feature program with one (1) second of black and silence at the head and tail of the program. Video must not contain commercial blacks. Video must not contain color bars, bumpers, segment recaps or previews, advertisements, slates, ratings cards, FBI warning cards, VITC time code, placards, overlay branding or website link callouts before, during and/or after the program. URLs present during end credits are permissible. Video must be non-subtitled. Netflix defines “non-subtitled” as the presence of main titles, end credits, narrative text, location call-outs, and other supportive/creative text, but no burned-in subtitled dialog, regardless of the language in the primary video. This does not apply to textless IMF deliveries (see Section 7). Track files containing image essence mastered in Dolby VisionTM must embed dynamic metadata for color volume transform within a single track file. At a minimum, L1 Dolby VisionTM metadata must be present for every frame in the track file.  Note: We do not support material mastered only for HDR-10 distribution.

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3.2.2 UHD  UHD Image Track Image Frame Width Image Frame Height Color Encoding Frame Rates Frame Structure Stereoscopy JPEG 2000 Profile

Dynamic Range Colorimetry Pixel Bit Depth November, 2020

3840 2160 RGB / 4:4:4 / Full Range 23.976 / 24 / 25 / 29.97 / 30 / 50 / 59.94 / 60 Progressive Monoscopic Frame rates up to 30 fps use: ● 4k IMF Single Tile Lossy Profile Mainlevel 6 Sublevel 3 (max 800 Mbit/s) Frame rates above 30 fps use: ● 4k IMF Single Tile Lossy Profile Mainlevel 7 Sublevel 4 (max 1600 Mbit/s) SDR Dolby VisionTM HDR P3 D65 / SMPTE ST 2084 (PQ) ITU-R BT.709 / D65 / ITU-R BT.1886 (Gamma 2.4) 12-bit 10-bit version OC-4-0

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Mastering Display Color Volume Metadata Dynamic Metadata for Color Volume Transformation 

SMPTE ST-2086

n/a

Dolby VisionTM CM 2.9 or CM 4.0 mastering metadata.

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3.2.3 HD  HD Image Track Image Frame Width Image Frame Height Color Encoding Frame Rates Frame Structure Stereoscopy JPEG 2000 Profile

Dynamic Range Colorimetry Pixel Bit Depth Mastering Display Color Volume Metadata Dynamic Metadata for Color Volume Transformation 

1920 1080 RGB / 4:4:4 / Full Range 23.976 / 24 / 25 / 29.97 / 30 / 50 / 59.94 / 60 Progressive Monoscopic Frame rates up to 30 fps use: ● 2k IMF Single Tile Lossy Profile Mainlevel 4 Sublevel 2 (max 400 Mbit/s) Frame rates above 30 fps use: ● 2k IMF Single Tile Lossy Profile Mainlevel 5 Sublevel 3 (max 800 Mbit/s) SDR Dolby VisionTM HDR P3 D65 / SMPTE ST 2084 (PQ) ITU-R BT.709 / D65 / ITU-R BT.1886 (Gamma 2.4) 12-bit 10-bit SMPTE ST-2086 n/a

Dolby VisionTM CM 2.9 or CM 4.0 mastering metadata.

n/a

3.3 Audio 

3.3.1 Immersive Audio  Audio Track (Atmos®) Sample Rate Bit Depth Channel Mapping

48 kHz 24-bit ● All bed configurations are acceptable ● For all series/doc/unscripted/comedy content, beds and objects must be separated by Dialog, Music and Effects. For film content, DME separation should be maintained whenever possible

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   3.3.2 Surround Audio  Audio Track (5.1 Surround) Sample Rate Bit Depth Channel Mapping

48 kHz 24-bit ● Channel 1 – Left ● Channel 2 – Right ● Channel 3 – Center ● Channel 4 – LFE ● Channel 5 – Left Surround ● Channel 6 – Right Surround

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3.3.3 Stereo Audio  Audio Track (2.0 Stereo) Sample Rate Bit Depth Channel Mapping

48 KHz 24-bit ● Channel 1 – Stereo Left ● Channel 2 – Stereo Right

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4 Audio Specifications 

4.1 Audio Prerequisites  Discrete audio is required, except when muxed is inherent to the source, as when audio is delivered via IMF, Quicktime or Atmos® BWAV ADM. The only exception is deliveries made to Source Management. See section 5.3 for more details.  Sample Rate and Bit Depth: 48k/24-bit for Original Language Mix or M&E Mix - applies to Stems & Mix Masters. 48k/16-bit or 24-bit for Secondary Language or Audio Description.  All audio must sync to the final picture, including 1 second of black after FFOA and before program start, and 1 second of black at LFOA.  Alternate/Dubbed Language and Audio Description Mixes must not contain an additional leader. Printmasters, M&Es and stems may include standard 8 second Academy leader and 2-pops.  For all titles, 5.1 audio is required and 2.0 is optional.  Mono audio is acceptable if the program’s original source is mono and no stereo and/or 5.1 mix exists. Mono audio must be duplicated on channels 1 & 2 and delivered as 2-channel. 

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4.2 Audio Mix Requirements  

4.2.1 Near Field Atmos® Mix - Mastering and Archive - Original Language Version  The Dolby Atmos® Original Language Home Mix must meet the following requirements: ● At a minimum, must be mixed in a 7.1.4 room ● Dolby Certification is not required for Home Atmos® mix rooms ● Atmos® delivered in IMF (IAB) supports 23.976, 24, 25 and 30 frames per second. ● This is a nearfield mix. The most common monitoring levels for nearfield are 79db or 82db ● Must conform to Netflix loudness spec (-27db LKFS +/- 2 LU 1770-1 dialog-gated) ● Peaks should generally not exceed -2dBFS true-peak. To achieve this, we recommend setting true-peak limiters on all beds and objects at -2.3 or lower. Loudness and peaks should be measured via a 5.1 rerender ● For Atmos® mixes, delivering 5.1 is required and 2.0 audio is optional. The 5.1 and 2.0 rerender outputs must conform to Netflix loudness specification. 5.1 and 2.0 must conform to the Netflix peak specification only if they are delivered for streaming. We suggest achieving this by limiting the output from the renderer, rather than lowering beds and objects. ○ Atmos® - Delivered to picture finishing facility for IMF creation and streaming. ○ 5.1 - Delivered to Content Hub for dubbing reference. Optional to deliver for streaming. ○ 2.0 - Optional. ● All beds and objects are encoded and will always be audible. A printmaster may utilize a composite of all bed material OR multiple beds, but not both ● For all series/doc/unscripted/comedy content, beds and objects must be separated by Dialog, Music and Effects. For film content, DME separation should be maintained whenever possible ● If an 85 db reference theatrical mix is created, two complete sets of deliverables are required. One for theatrical, one for nearfield ● Leader and sync pop are preferred but not required. The IMF vendor will sync Atmos® in the IMF. Program must match the final IMF picture, including 1 second of black at head and tail. ● Final Home Theater Print Master ○ Dolby Atmos® BWAV ADM File ■ All bed channel configurations are acceptable ■ 48 kHz sample rate, 24-bit  4.2.2 Near Field Atmos® Mix - Mastering and Archive - Dubbed Languages

 The Dolby Atmos® Dubbed Language Home Mix must meet the following requirements. ● At a minimum, must be mixed in a 7.1.4 room ● Dolby Certification is not required for Home Atmos® mix  rooms ● This is a nearfield mix. The most common monitoring levels for nearfield are 79db or 82db. ● Must conform to Netflix loudness spec (-27db LKFS +/- 2 LU 1770-1 dialog-gated) ● Peaks should generally not exceed -2dbfs True Peak. To achieve this, we recommend setting True Peak limiters on all beds and objects at -2.3 or lower. Loudness and peaks should be measured via a 5.1 rerender. ● For native Atmos® mixes, the 5.1 and 2.0 rerenders must conform to Netflix loudness and Peak specification. ● All beds and objects are encoded and will always be audible. A printmaster may utilize a composite of all bed material OR multiple beds, but not both. ● For all series/doc/unscripted/comedy content, beds and objects must be separated by Dialog, Music and Effects. For film content, DME separation should be maintained whenever possible. ● If a 85 db reference theatrical mix is created, two complete sets of deliverables are required. One for theatrical, one for nearfield.

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Dubbed Language Atmos® files shall match final IMF picture length exactly as long-play and not separate reels. Leader and sync pop shall be removed. FFOA must be left at default - leave “Add FFOA” box unchecked. For pre-3.0 renderer software, leave red dashes in FFOA value. Final Home Theater Print Master ○ Dolby Atmos® BWAV ADM File ■ All bed channel configurations are acceptable ■ 48 kHz, 24 bit

 4.2.3 Near Field 5.1 Surround Mix - Mastering and Archive - Original Language Version from Production and Dubbed Languages ● ● ● ● ●

 Use 79dB spl or 82dB spl as your standard reference level for mixing Meet a -27 LKFS (+/- 2 LU) dialog-gated using ITU-R BS.1770-1 measured over entire program Do not exceed +18db (-2 dBFS) maximum level (true-peak) over reference of -20 dBFS, achieved by peak limiting and not lowering the mix level For Original Version: Provide 5.1 Dialog, Music and Effects stems that equal the 5.1 mix when combined For Dubbed Version: Provide 5.1 Dialog stem that equals the 5.1 mix when combined with M&E

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4.2.4 Near Field 2.0 Stereo Mix - Mastering and Archive - Original Language Version from Production and Dubbed Languages ● ●

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 Use 79dB spl or 82dB spl as your standard reference level for mixing Provide a separate Lo/Ro or LT/RT mix with -27 LKFS (+/- 2 LU) dialog-gated using ITU-R BS.1770-1 measured over entire program o Lo/Ro mix is preferred Lo/Ro or LT/RT mix to be mono compatible Do not exceed +18db (-2 dBFS) maximum level (true-peak) over reference of -20 dBFS, achieved by peak limiting and not lowering the mix level When down-mixing from 5.1 to create Lo/Ro or LT/RT 2.0 mix: o Lower Center channel content by -3db o Center channel content should be included in both the LEFT and RIGHT CHANNELS o Lower Surround channel content by a minimum of -3db o Fold Left and Right Surround content into the corresponding LEFT and RIGHT CHANNELS o Optionally include the Low Frequency Effects (LFE) channel between -8db and -12db ▪ Fold Low Frequency Effects (LFE) into both the LEFT and RIGHT CHANNELS ▪ Low Pass Filter LFE at 200Hz or lower All adjustments must be made to the individual 5.1 channels prior to folding down

●  Note: The resulting 2.0 mix must be checked prior to delivery to ensure it is free of any audio artifacts and if necessary, as determined by Netflix, further adjustments shall be made to prevent them. Any 2.0 delivery must meet the specification prescribed in this section. 

4.2.5 Music & Effects (M&E) Mix 

4.2.5.1 Near Field Atmos® M&E Mix  The Dolby Atmos® Home M&E Mix must meet the following requirements: November, 2020

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At a minimum, must be mixed in a 7.1.4 room Dolby Certification is not required for Home Atmos® mix rooms This is a nearfield mix. The most common monitoring levels for nearfield are 79db or 82db Peaks should generally not exceed -2dBFS true-peak. To achieve this, we recommend setting true-peak limiters on all beds and objects at -2.3 or lower. Peaks should be measured via a 5.1 rerender The 5.1 M&E rerender is required and must conform to Netflix Peak specification Optional tracks are required in addition to the Atmos® M&E when necessary All beds and objects are encoded and will always be audible. A printmaster may utilize a composite of all bed material OR multiple beds, but not both M&E bed and object configuration should match the Atmos® printmaster. Dialog beds and objects should contain only production effects and no discernable language. If a 85db reference theatrical mix is created, two complete sets of deliverables are required. One for theatrical, one for nearfield Leader and sync pop are preferred but not required. Program must match the final IMF picture, including 1 second of black at head and tail. M&E Mix ○ Dolby Atmos® BWAV ADM File or Pro Tools Recorder Session ■ All bed channel configurations are acceptable ■ 48 kHz, 24-bit ■ Single or multiple M&E Options stems as separate WAV file(s) or marked clearly as Optional or OPT within the Pro Tools session, along with any other content-specific labels ● Channel format should be determined by the re-recording mixer to match the intent of the original mix 

4.2.5.2 N  ear Field 5.1 Surround M&E Mix  ● ● ● ● ● ●

Provide a separate fully filled 5.1 surround submix containing only Music & Effects (no dialog) Ambiences and foley fill should be included to correctly match the original mix. Any non-dialog sound present in the main mix must also be represented in the M&E mix All levels should mirror what was used for final Mastering and Archive so that any newly added...